West Side Story (1961)

The critic hails the electrifying and moving version of the Bernstein/Sondheim musical, an update of Romeo and Juliet set in late-1950s New York gangs, which earned ten Oscars plus a special award for Jerome Robbins’s choreography. Performances by George Chakiris, Natalie Wood and Richard Beymer are praised, along with co-director Robert Wise’s experience with musicals.

Scheuer hails the film as restoring glory to Hollywood with its powerful impact, brilliant choreography, and tense drama on juvenile delinquency. He singles out the music, dance numbers, and performances by the gang members and leads like Wood and Moreno for praise.

The 1961 film remains a blinder that is formally electric, musically alive and emotionally pummelling, with bodies in motion used to shape and dictate the film’s own rhythm in a way never seen before. Its Saul Bass opening credits and Robbins’s choreography, especially in numbers like Cool and America, keep it agile, athletic and crisply modern even at 60.

The critic calls it a magnificent milestone in movie musicals that has never been bettered, with fluid tandem direction by Wise and Robbins creating a harmonious whole and standout performances, especially from Natalie Wood.

Crowther calls the film a thrilling cinematic achievement that advances the sophistication of the musical genre through its vivid translation of the stage material. He highlights the strong performances, especially by Natalie Wood and Rita Moreno, and the superb dancing.

Williams describes the film as a beautifully mounted, impressive and violent musical that powerfully translates the Broadway hit with realism and spectacle. He praises the direction, choreography, score, and performances, especially the gang members' dancing and menace.

The critic views the film as a classic musical despite some production compromises like dubbed vocals and casting choices. Standout elements include the hit songs, electric choreography, and the vibrant 'America' sequence.

The critic praises this restored fiftieth-anniversary re-release of the classic musical adaptation of Romeo and Juliet set among 1950s New York gangs. The euphoric dance sequences, ultra-melodic tunes, neo-expressionist production design and forceful cinematography are singled out for praise, though the linking dramatic scenes fall flat and the central romance remains underdeveloped.

The review notes the film's reissue as a long but fortunate production with strong performances and song-and-dance numbers. It has only half the vitality of the stage show yet remains a classic.

Ebert praises the choreography of Jerome Robbins, the Bernstein-Sondheim songs, and the performances of Rita Moreno and George Chakiris as standout elements. He views the film as containing great things in parts but not a fully cohesive classic by modern standards.

The piece notes that much of the film has not aged well due to dated elements, casting issues, and clumsy social messaging, but singles out the spectacular, gravity-defying choreography and dance sequences as timeless and thrilling.

The review finds the film a dutiful, entertaining adaptation with strong direction, choreography, color, and music that make set pieces work, but notes it is only moderately successful emotionally due to uneven lead performances and on-the-nose politics.

The critic calls the film the perfect movie musical thanks to its brilliant choreography, the combined musical talents of Leonard Bernstein and Stephen Sondheim, and the technical craftsmanship of director Robert Wise and DP Daniel L. Fapp. The review highlights the color-popping wardrobe, emotionally evocative angles, and standout performances, especially from Natalie Wood, Rita Moreno, and the dancers.

The critic praises how the film leverages cinematic techniques and Jerome Robbins' choreography to deliver surprises and energy that still grip viewers. It notes the defining performances and how the work achieves both artistic and popular success despite dated elements.